IAMA Art Museum in San Francisco

第三世多杰羌佛創始的十六個畫派-朦朧派-高足寶馬兮

高足寶馬兮

High-Leg Treasure Horses

H.H.第三世多杰羌佛

     H.H. Dorje Chang Buddha III

高足寶馬是一種擁有巨大能量的純種馬。它的腿比其它的馬長，鬃毛也比其它品重的馬長而壯。當這寶馬出汗時會流出血紅色的汗水。根據古老的傳說，它是所有馬匹之中最珍貴的品種。它能日行超過三百英里。堅挺的長鬃毛和英俊的外表是其突出之處。

作品描述：

誘人的景象、草原、湖泊、天空、和大地都被淋漓盡致地呈現在畫紙上。羌佛將“朦朧派”的手法運用在實現中，連貫統一地結合了寫實和寫意，以及像霧又似真的手法。營造了一種似是而非的獨特意境。

這幅畫運用了極為罕見的繪畫技術，結合了虛實的手法來呈現馬毛。遊絲般的馬毛薄而堅韌。你能清晰看到陽光照射在鬃毛上的那種自然。此外，還能在每根鬃毛上看到顏色的對比和明暗的變化。馬匹的毛髮效果既真實又自然。

古老的柏樹並不需要不同色調的綠色來裝飾它。樹的神和態都被羌佛捕捉於筆下。幾片紅葉更令這背景增添了幾分優雅的魅力。這幅作品最困難的部分是畫它的根、樹幹和樹葉，羌佛利用筆尖部份作畫，看似隨心隨意但又不失大師風範。這種繪畫方法是不易掌握的，需要有紮實的文學、書法、繪畫功底以及高尚的道德內涵才能做到。

從繪畫風格和細節中，我們可以感受到羌佛深厚的內在修養。羌佛的才華和豐富的文學能力，於此畫中隨處可見。筆觸彰顯了其熟練、充滿活力地大師風範，任運自如且不落俗套，反映了繪畫和書法的最高水平。能畫出如此藝術作品，不單是一位文學巨匠，更是一位偉大的藝術大師。

The High-Leg Treasure Horse is a thoroughbred horse with great stamina. When this treasure horse perspires, it appears to be bleeding due to the color of its perspiration. According to ancient legend, it is the most precious among all species of horses. It has the reputation of being able to travel over three hundred miles a day. Long mane hairs and a mighty, strong-willed, handsome appearance are its prominent characteristics.

The High-Leg Treasure Horses in this painting have longer legs than horses commonly seen in paintings. The hairs of their manes are also long and strong. An extremely rare brushwork technique that combines haziness with clarity was applied to paint the hairs of the horses. The gossamer-thin hairs are strong but pliable. One can clearly see the natural effect of sunlight on the horses' manes. Moreover, contrasting variations of dark and light are seen in every hair. The hairs of the horses are depicted with a realistic effect that nonetheless transcend their natural look.

An artistic technique was used to thoroughly capture on paper the charm and atmosphere of the grassland, lake, sky, and land. The “haziness technique” was applied to express a stated of realization in which there is no distinction between emptiness and form.

The ancient cypress tree was drawn in one shade of green without the need to add decorative touches in several different shades of green. Both the spirit and form of the tree were captured though the artist's brush. In addition, elegant charm is revealed by small number of dots of red leaves in the background that compliment the scene. The most difficult part of this work of art was painting the root, trunk, and leaves in a spontaneous, casual manner using the center brush-tip technique yet maintaining a scholarly tone. Such mastery of painting cannot be easily attained and requires solid skills in calligraphy, literature, and painting as well as noble moral character.

From the brushwork style and details of this painting, we can sense the profound inner-cultivation of a renowned scholar. The abilities of a literary giant with abundant talent are visible everywhere. The scholarly tone and brushwork style are skillful and vigorous, totally free of any trace of the mundane, and reflect the highest level of painting and calligraphy. Anyone who lifts a brush in an attempt to paint such painting will appreciate the fact that this scholarly style cannot be accomplished by anyone other than a literary giant who is a great master of art.

This painting coherently unites realism and small-scale freehand brushwork as well as the use of haze and clarity.

The “Menglong” style

Realism and non-realism are combined to capture the image of the subject portrayed, resulting in a seeming likeness but actual non-likeness of the subject. Brush strokes and color application produce a strong fanciful look to these paintings, a lovely, hazy look in which the real and the surreal mingle.

朦胧派——即是以虚实幻化笔意取物造型，得其似是而非，在笔触和色韵上产生强烈的虚无缥缈的笔意、虚实不定的朦胧状的笔情墨趣。

 

摘自：INTERNATIONAL ART MUSEUM OF AMERICA

https://iamasf.org/exb-hhdcb3/

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